Note: I'm slowly trying to build an index to categorize my channels. Key is incomplete!
* class resources
↔ internet history
◘ archives, libraries, collections
■ technology studies and spaces
◙ technology bias and modifications
"if you find a conversational partner who’s willing to get a little weird, you can use the room you’re in to build a shared memory palace. when you discover an interesting train of thought, you “place” it somewhere in the room. pretty soon, you’re literally surrounded by the convo
the weird thing is you can come up with new connections or concepts by physically moving/dancing between the landmarks in your mini memory palace
you’re basically setting up an infrastructure that lets you see ideas in visual form before you know how to translate them into words"
If you want to increase the quality of your work – your output – you must increase the level of your inputs. Your input is knowledge.
to overcome imposter syndrome, have confidence in your depth of curiosity rather than your expertise.
Through the reader’s act of choosing what a hypertext is and will become, hypertext becomes “embodied” by what are otherwise invisible choices in reading (Joyce 235).
“I am not a solitary thinker, or solitary learner, or solitary channel of these universal wisdoms and universal truths. I’m constantly learning from other people. I weave. We all weave in different ways. What is the tapestry of lessons and wisdom that are unique for me? Each person ends up with a different tapestry, but you start to see patterns amongst them.”
We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted & changed by human beings. Resistance & change often begin in art... The name of our beautiful reward is not profit. Its name is freedom.
“The frontiers of the book,” wrote Michel Foucoult long before these modes of writing hypertext or retrieving data from the Net emerged, “are never clear-cut: beyond the title, the first lines, and the last full stop, beyond its internal configurations and its autonomous form, it is caught in a system of references to other books, other texts, other sentences: it is a node within network.” [...] Reality does not run along the neat straight lines of the printed page. Only by “criss-crossing the complex topical landscape” can the “twin goals of highlighting multifacetedness and establishing multiple connections” even begin to be attained. Hypertext makes it possible for “single (or even small numbers of) connecting threads” to be assembled into a “‘woven’ interconnectedness” in which “strength of connection derives from the partial overlapping of many different strands of connectedness across cases rather than from any single strand running through large numbers of cases…”
Only when digital networks arranged themselves in threads and links did footnotes begin to walk all over what had once been the bodies of organized texts.
After graduating, I moved to NYC and became aware that I didn't have what it would take to become an artist. I realized that art is not something intuitive or that you were born gifted. You have to earn it, and I had not yet earned the knowledge of what material would help me come up with ideas. The next 10 years became my true education: I met a lot of artists and architects through the non-profit gallery my ex-husband, Kyong founded, Storefront for Art and Architecture. Eventually, when I did become an artist, my work was very research-based. It was not this intuitive thing where I would just, like, draw something. Instead, I spent a lot of time learning about material that interested me, and eventually, it sort of crystallized in the visual images I create.
Books are in themselves already more than mere containers of information; they are also modes of connectivity and interrelation, making the library a meta-book containing illimitable intertextual elements.
Marginalized, persecuted people have had to destroy their own history for their safety. Loss isn’t random.